In a 2021 review, a colleague of mine remarked that Behzod Abduraimov’s album marked a departure from virtuosic repertoire to developments in nuanced tone and color. This new release, at least going by the repertoire, seems to take a similar path; the inclusion of compatriot Dilorom Saidaminova’s Walls of Ancient Bukhara especially points toward a more personal musical exploration.
Three years is arguably a sizeable span of time between solo releases, so I was curious to see how Abduraimov’s playing had developed—and what better barometer than Ravel‘s Gaspard de la Nuit (track 19-21). In Ondine, where Bertrand Chamayou’s siren is forthcoming with her song and Jean-Efflam Bavouzet’s is mysteriously nuanced, Abduraimov’s is shy: his melody might not stand out against the shimmering accompaniment as much as I’d like, but there is still a sense of coyness and charm. As a whole, though, there is much to be desired in this interpretation. Yes, the shadings of pianissimos are admirable, but the pacing is brusque and metronomic, which made me wonder why this mermaid is in such a hurry. Another major issue is the architecture of the phrases and buildup, which feel far too uniform. Central to the work is a sinister, undulating presence that encroaches on the lyricism and finally takes over at the high point. Unfortunately, this tension is largely muted and never really comes to a head in the hurried and understated peak.
A convincing account of Le Gibet should (for lack of a better word) disturb the listener with its macabre. Unfortunately, that doesn’t quite happen here. The pianist’s B-flat ostinato could better evoke the doomful tolling of the bell in Aloyius Bertrand’s poem. And, as was the issue in Ondine, he aims for melodic continuity but at the expense of imagination: the melody longs for more gravitas and the dissonant cascades more of an unnerving chill—something that Martha Argerich does masterfully in her version. Abduraimov’s technical facility is evident in the challenging Scarbo, but it’s jumpy and cute rather than capricious and menacing.
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The Walls of Ancient Bukhara (1973, revised 1988) takes its inspiration from Mussorgsky’s Pictures at an Exhibition. It seems that Abuduraimov is much more at home here expressively, even though Saidaminova opts for sparser textures. I enjoyed the openness of sound and fluidity of phrasing that had been missing in Gaspard. Mosque Kalon (track 11), for instance, has plenty of shading but it is the declaratory melodies that speak with the most impact. Samanid Kingdom that follows has an infectious rhythmic ferocity, while the Tomb of Ismail Samani’s crashing dissonances sound especially cataclysmic in the context of the shadowy sections. The impressive Domes (track 14) juxtaposes a stately yet contemplative melody in parallel fourths against delicate, ghostly filigrees. Abduraimov’s sensitivity shines best in Stars Over Bukhara (track 16), with the tone clusters creating a level of eeriness I wished I’d heard in Le Gibet.
I will preface my commentary on Prokofiev’s 10 Pieces from Romeo and Juliet with the disclaimer that I do prefer the orchestral version over the piano transcription—the instrumentation and sound density of the former gives it the decided upper hand when it comes to the narrative drama. An effective piano performance, however, can still capture the spirit of the original version. Abudraimov’s Folk Dance (track 1) is elegant enough but this approach somehow doesn’t fit the piece’s carefree and robust profile. His buoyant touch fortunately serves him well in The Young Juliet (track 4), whose youthfulness is ironically tinged with innocent hope.
Of course, the Dance of the Knights from the Montagues and Capulets (track 6) is a signature of the orchestral version and little can compare with the heavy strings and the brass on full blast. The pianist’s interpretation retains the stately character of the dance but lacks the heft I was looking for. Try Nikolai Luganky (more pedal in the octaves creates more presence), or even better, Vladimir Ashkenazy, who really leans into the dotted rhythms and bass register.
It seems that Abduraimov has successfully continued to diversify his subtle tonal colors, but it’s the variety of personality that is regretfully wanting in the Prokofiev and Ravel. However, the Saidaminova offers promise to what the pianist can and hopefully achieve in terms of musical balance in future releases.
Shadows of My Ancestors
Behzod Abduraimov – Piano
Alpha, ALPHA1028
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Recommended Comparisons
Gaspard – Argerich | Gaspard – Bavouzet | Prokofiev – Lugansky | Prokofiev – Ashkenazy
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